Jacopo Guarana
Jacopo Guarana (born October 28, 1720 in Verona , † April 18, 1808 in Venice ) was an Italian fresco painter of the Settecento .
life and work
Guarana's parents were from Venice. His father Vincenzo was in the service of Bishop Marco Gradenigo . From the age of four, Jacopo lived continuously in Venice, ie from 1724. He only left the city for short stays in Veneto , and towards the end of his work when he was supposed to decorate the dome of San Vitale in Ravenna . On April 28, 1740, he married Caterina Girelli in San Pantalon . The couple moved to the municipality of San Tomà in the San Polo sestiere . Their son Vincenzo came in 1742to the world, who later became a painter himself. After his wife - the couple now lived in San Pantalon - died on November 3, 1758, Guarana married a second time on November 29, 1759, namely Francesca Alvarà, who died shortly before his death.
The patrician Pietro Gradenigo entered on June 12, 1755 in his notatori that Guarana was a “Discepolo del Celebre Gio. Batta Tiepolo ”, a student of the famous painter. According to other sources, however, he was first a student of Sebastiano Ricci and only then of Tiepolo, but this information is occasionally contradicted in modern research. In any case, by 1744 at the latest he belonged to the Painters' Brotherhood, from 1756 to the Accademia veneziana di pittura e scultura , of which he was president from 1774 to 1784. He also belonged to the academies of Florence and Bologna.
The main clients were the churches, in which he mainly painted pals and ceilings, but also the owners of the numerous palaces in Venice and Veneto. He became one of the most important painters in this sector. He decorated the dome of the Cappella del Sacramento in the church of San Giacomo dall'Orio from 1753, possibly earlier in San Moisè with his Vergine in gloria , but also in Sant'Antonio in Padua; in December 1755 he was paid for frescoes in San Tomà. He also worked in Udine and Treviso.
Perhaps he created the Pala con il Martirio in Santo Stefano as early as 1755, the ceiling paintings in San Teonisto ( Assunzione della Vergine and others), which are now lost in 1758 , and perhaps also the ceiling frescoes of the destroyed Church of San Parisio with the Gloria del santo .
In the late 1750s, he also began decorating private buildings. The complex allegorical work on the ceiling of the Sala degli Arazzi in Ca 'Rezzonico dates from 1758 ; other works were created in the Palazzo Erizzo in San Martino ( Fama buona , Zefiro and Flora , Imeneo di Bacco ), which were probably created together with F. Zanchi around 1758. Around 1759, ceiling frescoes in the Palazzo Baglioni were created in collaboration with P. Visconti. In some palaces, Guarana also created historical paintings, such as in the Palazzo Giustinian-Lolin, but also in the Palazzo Fulcis-Bertoldi in Belluno or in the Villa Pisani in Stra. He is also said to have painted for the Russian court in Moscow , a work made in 1760 that went to the Winter Palace in Petersburg . He created another work for the Chinese palace in Oranienbaum (today Lomonossow ).
In 1760 Guarana signed a contract in which he undertook to decorate the ceiling of the saloon at the Scuola di San Giovanni Evangelista ( Visione dei sette angeli e dei sette vasi ). Gloria di San Giovanni Evangelista was created on the ceiling of the house's archive , but only survived from Zanetti's archive guide from 1792.
In 1764 the painter was honored by the Accademia for decorating the ceiling of the Camera delle Riduzioni in the Fonteghetto della Farina. However, the work was replaced three years later by the fresco, which is still there today and by Francesco Fontebasso .
In the Doge's Palace , Guarana created the frescoes of the Chiesetta between September 1766 and May 1767, including the ceiling with San Marco, Venezia and allegorical figures representing the good regiment, advice and prudence, with Gerolamo Mengozzi-Colonna responsible for the ornaments . Guarana and Zanchi were also selected for the Sala dei Banchetti, today an annex of the Palazzo patriarcale, by decree of the Senate of April 30, 1767. So until December 1768 the apotheosis of Venice between groups of virtues arose . Apparently it was he and not Tiepolo who was commissioned because the latter was in Spain at the time. With Tiepolo's absence from 1762, Guarana became the most sought-after painter of those years in Venice. This allowed him to develop much more freely and to carry out more extensive work. He decorated the Sala di Musica in the Ospedaletto between 1776 and 1777, and in 1779 he painted the Apostles Philip and Bartolomew in San Pantalon . At the same time he painted in Grappa (Chiesa di Crespano) and Vicenza (Palazzo Porto Breganze), in Padovano (Villa Contarini).
Between 1765 and 1768 frescoes were created in the ballroom of the Palazzo Tron a S. Stae ( Trionfo di Ercole ), but they were destroyed. Guarana also worked in the Palazzo Crotta in San Geremia, where he adorned two ceilings with allegories, perhaps also in the Palazzo Dandolo di S. Moisè, which, however, have also been lost.
With Zanchi he realized a cycle of frescoes in the Palazzo Pisani Moretta from 1770 to 1773 , then in 1772 in the Palazzo Morosini di S. Stefano, as well as in the Palazzo Nani a San Trovaso , then in the Palazzo Pisani a Santo Stefano, in the Palazzo Mocenigo a Santa Stae. There are also numerous works that have not survived, but of which we know from the written sources. Between April and August 1780 he created the martyrdom of the apostle Thomas with the painter Giuseppe Moretti on the ceiling of San Tomà .
In 1782 Guarana traveled to Ravenna to decorate the dome of the Basilica di San Vitale , a commission he received because Ubaldo Gandolfi had died shortly before. Back in Venice he worked in the Scuola del Rosario on the Holy Trinity and other works. For the Scuola della Carità, for which he had painted the Figlia di Jefte (now in San Cassiano ) decades earlier , the sacristy ceiling. In the Palazzo Querini Stampalia he created Il carro dell'Aurora and other allegories in the living area of Alvise Querini and Maria Lippomano, who had married in 1790 ; Works were also created on the ceilings of Palazzo Gradenigo and Palazzo Manin on Rialto, but nothing of them has survived. In contrast, the frescoes in Palazzo Michiel del Brusà in Ss. Apostoli, perhaps from 1802, has been preserved. Guarana last worked in San Polo in 1802 , where he had already carried out restoration work in previous years.
In December 1807, Guarana turned to Eugène Beauharnais , the viceroy, and asked for annual support for the rest of his days. He died on April 18 of the following year at his home in San Polo Township.
literature
- Simone Guerriero: Guarana, Giacomo. In: Mario Caravale (ed.): Dizionario Biografico degli Italiani (DBI). Volume 60: Grosso – Guglielmo da Forlì. Istituto della Enciclopedia Italiana, Rome 2003, (forms the basis of the presentation part).
- Giuseppe Pavanello: L'attività di Jacopo Guarana nei palazzi veneziani , in: Rivista dell'Istituto Nazionale d'Archeologia e Storia dell'Arte III (1998) 197–245.
- Giannantonio Moschini: Della vita e delle opere del pittore Jacopo Guarana Veneziano , Asolo 1808.
Web links
Remarks
- ^ Giannantonio Moschini: Della vita e delle opere del pittore Jacopo Guarano veneziano. In: Giornale della letteratura italiana 22 (1808) pp. 129–147, here: p. 147.
- ^ Ilaria Marchesi, Franco Crevatin: Gli annali di Pietro Gradenigo. Trieste 2006.
| personal data | |
|---|---|
| SURNAME | Guarana, Jacopo |
| ALTERNATIVE NAMES | Guarana, Giacomo |
| BRIEF DESCRIPTION | Venetian painter |
| DATE OF BIRTH | October 28, 1720 |
| PLACE OF BIRTH | Verona |
| DATE OF DEATH | April 18, 1808 |
| Place of death | Venice |